dense

Painting

Vignette: Margaret Archambault


“The power of what we see and how it alters our ability to find what we consider ‘happiness’ is something I find challenging and worth exploration.” – Margaret Archambault


Archambault's studio

Archambault's studio

In her 6th solo exhibit, In Ten's; A Single Century to Live, which opens on October 6th at Tim Faulkner Gallery, Margaret Archambault examines perception and mortality: “In essence, we measure our lives in 10 decades of experience. Some of us don't reach that 10th decade, but we all see our ‘life-time’ as potentially 100 years. Our personal perspective evolves through these years and our expectations related to happiness and fulfillment either becomes satisfied or we are left perpetually wanting. It is my goal with this new series to demonstrate the fallacy of the world being sold to us and focus on the world we can create within ourselves.”

Illusion versus reality is a frequent theme in art, but does it challenge our sanity to question the perception of our own existence. Archambault posits the opposite, that we are already inured from reality by the insulating cocoon of mass media. Her busy, kinetic compositions emulate in analog fashion the unyielding assault of visual information that we weather on an almost constant basis in our daily lives.

"We Are What We Were" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

"We Are What We Were" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

In “We Are What We Are,” Archambault breaks the pattern of dense collage slightly with the placement of one dominant figure, a 1920’s style woman representative of a pre-digital culture, but in a posture bent under the weight of 10 years of technological development.

“Regardless of our desires and often in direct defiance of our ‘plans’ the revolutions of time and the changes that come with it lead us to the revelations that alter our paths. My newest collection, the Silk Screen Series has a universal message about how our lives are affected by the world around us. More often than not, we make decisions based on what we think is expected of us, or what someone else wants us to do. These decisions often lead to destinations we never expected and only after we have arrived do we recognize the folly.”

Hometown: South Bend, Indiana
Education: BA, Interdisciplinary Humanities with Art Focus, Summa cum Laude, Spalding University, 2007
Gallery Representation: Tim Faulkner Gallery (Louisville)
Website: http://www.archambault-art.com
Instagram: http://instagram.com/margaretarchambault

"A Book of Life" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

"A Book of Life" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

"It's What You See, Not What You're Shown" by Margaret Archambault, 32x23in, oil and spray paint on canvas (2016), $850 |  BUY NOW

"It's What You See, Not What You're Shown" by Margaret Archambault, 32x23in, oil and spray paint on canvas (2016), $850 | BUY NOW

"Celebration" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

"Celebration" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

Are you interested in being on Artebella?  Click here  to learn more.

Are you interested in being on Artebella? Click here to learn more.

Drawing

Vignette: Mike McCarthy

“Loyal” by Mike McCarthy,  5.25x7.75in , hand colored print (#1), $40 |   BUY NOW

“Loyal” by Mike McCarthy, 5.25x7.75in, hand colored print (#1), $40 | BUY NOW

Mike McCarthy is a sculptor who works primarily with stone, but the restlessness that is familiar to most artists, combined with recent travels that included the inevitable time in airports and hotels prompted him to begin sketching again on paper. “On my first trip out of town, I brought 2 small rocks to carve while in the hotel,” he explains. “Needless to say, the dust that is created from carving, even with just files, was too much. So I put the stone away and got out my sketchbook.”

This “Hotel Series” uses subject matter consistent with McCarthy’s three-dimensional work: animals – lions, horses, birds…but the highly developed sense of form is deemphasized to make room for linear pattern and a dense, collage-like layering of visual elements.

“I started doing just sketches, but soon those sketches turned into different collages and completed drawings. These drawings were either pen and ink or pencil, but all of them are black and white. I really liked the collages but many times the details would get a bit confusing; I needed a way to help clarify the elements. I decided color might be an option. Color has always intimidated me, because I am color-blind. In fact, the only time I ever received an F in school was for painting a figure green that I was totally convinced I had painted the correct color.

“Koi Pond” by Mike McCarthy, 8x10in, hand colored print (#2), $65 |  BUY NOW

“Koi Pond” by Mike McCarthy, 8x10in, hand colored print (#2), $65 | BUY NOW

But I know it really helps people differentiate objects. I decided to just randomly fill in different parts of the drawing with what ever color pencil I picked up and not worry about if it was the “right” color. Many times, I only know things are different colors because the pencil says so. Much of the color looks the same to me. I wasn't sure how the process would work so I decided to have some prints made of the original black and white drawings done so I wouldn't ruin them and then add color to the prints. The cool thing is that I can experiment with a variety of different colors on the same drawing. If I don't like one, I don't have to start from scratch. It has been an interesting experience to see the reaction.”

“Butterflies!” by Mike McCarthy, 8x10in, hand colored print, $65 |  BUY NOW

“Butterflies!” by Mike McCarthy, 8x10in, hand colored print, $65 | BUY NOW

McCarthy doesn’t apologize for his color choices, nor should he; subjective use of color is a tradition of modern art since the beginning of the twentieth century. These drawings have a free and spontaneous quality that combines assured craftsmanship with a renewed sense of discovery. If one of the unspoken goals of the adult artist is to reawaken a child-like sense of discovery, McCarthy’s exploration of an approach that is a distinct contrast from his better-known work seems to succeed in part by doing exactly that.

Hometown: Chicago, Illinois
Age: 49
Education: BA in Fine Arts, Bellarmine University
Gallery Representative:  PYRO Gallery and Revelry Boutique Gallery (Louisville), KY Artisan Center (Berea)
Website: http://www.mikemccarthysculptor.com

“Bird Collage” by Mike McCarthy, 9x14in, hand colored print (#2), $75  |   BUY NOW

“Bird Collage” by Mike McCarthy, 9x14in, hand colored print (#2), $75BUY NOW

“Horse Collage” by Mike McCarthy, 7x9.5in, hand colored print (#5), $50 |  BUY NOW

“Horse Collage” by Mike McCarthy, 7x9.5in, hand colored print (#5), $50 | BUY NOW

“Dog Collage” by Mike McCarthy, 8x10in, hand colored print (#2), $65 |  BUY NOW

“Dog Collage” by Mike McCarthy, 8x10in, hand colored print (#2), $65 | BUY NOW

Written by Keith Waits. Entire contents copyright © 2016 Louisville Visual Art. All rights reserved.

Are you interested in being on Artebella?    Click here    to learn more.

Are you interested in being on Artebella? Click here to learn more.